Theatrical backdrop for producing a black art effect

ABSTRACT

The present invention relates to a black art backdrop useful for producing people and objects as if by magic. The backdrop consists of a center section and two winged sections. The center section has a stationary portion and a movable portion. The entire backdrop is covered in black art material on the downstage side for example triple velvet. The movable section can move downstage and back allowing a person or object to come from behind the curtain and appear.

This application claims priority of U.S. application Ser. No. 60/767,154 filed Mar. 7, 2006 and incorporated herein in its entirety by reference.

BACKGROUND OF THE INVENTION

1. Field of the Invention

The present invention relates to a theatrical backdrop incorporating back art effects. In particular, the invention relates to theatrical backdrops which can be used to make objects, animals, people and the like appear and disappear from of an audience perspective as if by magic.

2. Description of the Related Art

The German Theatrical Producer Max Auzinger is credited with the discovery of what is now commonly called “Black Art” for use in theatrical presentations some time in the late 1800's. It was discovered that objects, people and things that were covered in black become invisible on stage if they are presented in front of a stationary curtain that is also black as long as the spectator is at least the proper distance away from the Black Art effect. The Black Art effect relies on the discovered principle that, from a stage perspective, audience members watching a production can not discern any depth of field differences nor edge differences between a black object and a black curtain or backdrop behind it and in fact anything covered in black will appear to be part of the curtain behind it and thus becomes invisible to the audience even though the object is moving and potentially several feet in front of the curtain. This principle originally relied on use of black velvet which at the time was the only material actually black enough and of consistent black color to achieve this effect without revealing the edges of the object in front of the backdrop. More recently cloths such as velveteen and triple velvet have been included in materials that produce the Black Art effect.

Black Art is to some extent dependant on proper lighting to prevent shadows and edges from giving away the location of the object in front of the backdrop. Thus, given proper lighting and the audience being place at the right distance from the effect, it also is known that even materials, paint and the like which are not a perfect black color can produce a Black Art effect although they are much more difficult to use.

Since that time of the discovery of the Black Art principle, Magicians and Illusionists have use the Black Art principle to produce stage effects including appearances, disappearances, levitations, hiding the thickness of props by covering them with a portion of black art material, and the like. The general principal is to put something or some portion of something covered in black art material in front of a stationary black art backdrop. The object or portion of the object blends in with the black of the curtain and to the audience's eye is invisible. The eye just sees the black curtain. Also, since the eye can not determine depth of field of vision, even objects many feet in front of the curtain, stationary or moving become part of the curtain to the eye. One of the most interactive Black Art back drop uses is described in Don Drake's Black Art Breakthroughs; published 1999 pages 19-21 and is called the Wizard's Curtain. The Wizard's Curtain consists of a center forward facing stationary black art covered backdrop with a left and right stationary angled side curtain covered with black art material, the side curtains are spaced from the center backdrop to allow passage of a black art covered assistant to pass between the side and center backdrop. The Wizard's Curtain also requires an extra large floor piece of black art material both in front behind and to the sides and requires all pieces be stationary and it is sensitive to the angle that the audience can view the effect. While the Wizards Curtain has very many useful on stage applications, it is still limited in use. Spectators can not come up on stage during the performance, as is often the case with magic shows, because the Wizards Curtain will not withstand close scrutiny.

SUMMARY OF THE INVENTION

There has been a long felt need in the over one-hundred years that the Black Art effect has been in use, to be able to produce the Black Art effect for large objects yet still be able to invite spectators on stage during a performance without giving away the effect. It has now been discovered that there is a way to produce a theatrical backdrop which produces a Black Art effect that allows the appearance and disappearance of people places and things on stage in such a way, that it can be examined by audience members both prior to and immediately after a magical effect, yet still be capable of producing both small and very large items with the effect.

One aspect of the invention relates to a theatrical backdrop for use on a floor, the backdrop having a downstage side for producing a Black Art effect comprising:

-   -   a) a forward facing center section covered with black art         material on the downstage side, the center section having a         stationary potion and a movable portion capable of moving         essentially perpendicular to the center section;     -   b) left and right inward angled wing sections covered with black         art material on the downstage side; and     -   c) black art material covering the floor positioned between the         center section and the left and right inward angled wing         sections;         wherein the movable portion is covered with black art material         separately from the stationary portion and wherein the center         section also comprises black art material facing upward and         attached between the top of the movable portion and the         stationary portion of the center section.

These and other objects and aspects of the present invention will be clear when taken in view of the detailed specification and disclosure in conjunction with the appended figures.

BRIEF DESCRIPTION OF THE DRAWINGS

FIG. 1 a is a front elevated perspective view of the stationary portion of the present invention.

FIG. 1 b is a front elevated perspective view of the stationary portion with black art only on the center portion thus exposing the upstage framing of an embodiment.

FIG. 2 a is a front elevated perspective view of the stationary portion of the present invention with the movable portion in place.

FIG. 2 b is a horizontal perspective view of the present invention backdrop.

FIGS. 3 a, 3 b and 3 c show an overhead view of the present invention with the movable wall in place, moved forward and moved backward respectively.

FIG. 4 is an overhead view of the invention with the movable portion moved forward and the top cloth in place not shown in previous figures.

FIGS. 5 a and 5 b is a side view of the center section with a dolly attached to the movable portion of the center section moving it to a forward position with the top cover moving into place and in place respectively.

DETAILED DESCRIPTION OF THE INVENTION

The general description of the invention and how to use the present invention is stated in the Brief Summary above. This detailed description defines the meaning of the terms used herein and specifically describes embodiments in order for those skilled in the art to practice the invention. The above interests in providing a novel means for using the Black Art effect in a theatrical venue are explained and the objects of the present invention met as can be seen readily from the disclosure which follows and thus met by the present invention.

As used herein the term “theatrical backdrop” means curtains, drapes, covered frames, drops, and the like that are used in theatrical settings to be positioned behind an actor, magician, illusionist, speaker, performer or the like who is in front of an audience for the purpose of creating a background. A stationary backdrop can be supported in a myriad number of ways. For example, the backdrop could be placed on self-standing standard pipe, pipe stand and drape type system. Another method to support a backdrop would be a self-standing framing system. A framing system could consist of tubing, frame material or the like which would stand upright and thus support the backdrop. Yet another method of supporting a backdrop is a theatrical pipe system. In this framing system, curtains or the like can be hung on pipes that are stationary or can be raised and lowered from the ceiling area. The backdrop is not resting or supported on the floor in this embodiment, rather, it is being held from above so it just touches the floor. Numerous materials can be chosen to be used for this type of backdrop frame in the present invention including metals, wood, and plastics and include both rigid frames, put together frames, folding frames and the like.

As used herein the term “floor’ refers to the area that is being used in front of an audience and which a background is positioned. This could be a stage floor but, could also be a gymnasium floor, convention floor, meeting room floor or the like. The “downstage side” of a backdrop is the side of the backdrop that faces the audience and is positioned on the floor. The “upstage side” of the backdrop is the side away from the audience which the audience does not see during a performance or use of the present invention.

As used herein in the claims “black art material” refers to material for coating objects, curtains, portions of curtains, backdrops or the like that are covered with black art material in such that when lit by means known in the art, appear to be one continuous object as described above to produce the Black Art effect. Objects covered with black art material are normally, in one embodiment, covered or made with a downstage facing side covered with a black velvet, black velveteen, or a black triple velvet or other appropriate covering, paint or the like. Where there is some chance that light from the upstage side could shine through a covered object or curtain or backdrop, the black art material or the object could be further covered or lined or backed with additional material of any color sufficient to produce a light tight effect. Where the object needs to be turned or there is a chance of seeing behind the object the entire object, curtain or the like can be covered with black art material.

When viewed from above, the backdrop of the present invention essentially has a three-sided trapezoidal shape consisting of the short parallel side and the two angled non-parallel side. The short parallel side between the two angled sides is referred to herein as the “center section”. The two angled sections on either side of the center section are referred to as the left and right wing sections respectively.

The center section when positioned on the floor is facing the audience or downstage essentially parallel to the audience. The wing sections while facing the audience are angled off the plane of the center section. The angle is designed to block the audience view of the upstage side of the movable portion of the present invention when that movable portion is moved off the plane of the non-movable or stationary portion of the center section. The exact angle will depend on the length of the wing sections used as well as the distance the movable section moves as well as its size in relation to the non-movable portions of the backdrop. In one embodiment, the angle of the winged section is about 135 degrees relative to the center section. However, one skilled in the art of scenery and backdrops would be able to choose proper angles and size based on the disclosure herein without undue experimentation.

The center section has two portions that comprise the center section, a movable portion and a stationary portion. The stationary portion can be a complete frame, free standing, a solid backing or a simple cross piece between the left and right wing sections. The stationary portion has back art material covering just a portion of the downstage side of the stationary portion. That covered portion can be on the left and right side of the stationary portion but, can also include a top piece or strip and where the movable portion does not sit on the ground, it can also include a floor piece or strip that extends across the bottom area of the stationary portion. A review and discussion of FIG. 1, which follows will further explain and clarify how the stationary portion is covered with black art material. Once the black art is positioned on the stationary portion there will be an opening in the center portion, which is open to the upstage and the backside of the backdrop. This area could be bound on 2, 3 or 4 sides by black art material. This is the area where the movable portion is positioned. The movable section is also a frame or the like but is covered entirely with black art material on the down stage side. The material can extend all the way to the floor or in some embodiments extend to just above the floor, from about a couple of millimeters to 10 centimeters from the floor or more. In order to blend with the stationary portion of the center section the black art material should be at least the size of the opening in the stationary portion and in one embodiment it is larger than the opening to insure that no light from behind the backdrop shows through to the audience on the downstage side of the backdrop.

The movable portion is capable of moving in a direction essentially perpendicular to the center section. The movement can be in a downstage direction, an upstage direction or both. The ability to cross the plane of the stationary portion, if at all will depend on the exact design and placement of the black art on the movable portion. Where the black art is significantly larger than the opening in the stationary portion, it will prevent the crossing of the plane of the stationary portion, while if designed smaller can just brush by the stationary portion without problem. Where the larger black art size is used, one may wish to limit movement of the movable section to either an upstage or downstage movement.

Movement of the movable portion may be achieved in a number of ways. In could be hung from movable pipe and drape, it could be hand pushed and pulled forward and back or the like. In one embodiment, the movable portion is attached to a dolly positioned directly upstage of the movable portion. The dolly can be either a manual or motorized or mechanical or other wheeled or free moving device, which can easily be pushed forward and backward over the floor perpendicular to the center section plane. In another embodiment, the movable portion frame can have wheels attached to it so the movable portion itself is pushed forward and back and not via a separate dolly. Selection of the method of moving the movable portion herein will depend on the size of the backdrop, the smoothness of motion desired as well as cost and weight of the backdrop of the invention being employed. Such selection will be within the skill of the art as well as the desires of the individual user.

The center section also comprises an upward facing black art material roof portion. The upward facing black art material is attached between the top area of the movable section and the top area of the stationary portion of the center section to create a roofing portion. This roofing portion prevents an audience member who is sitting higher up in a multi-level audience from seeing down into the area behind or upstage of the movable portion when it is moved away from the plane of the stationary portion. The roof portion can be attached to the top of the stationary portion or where a strip of black art material runs across the top of the stationary portion it could be attached lower for example by use of a secondary cross member. The roof portion is like wise attached to the movable portion. When the movable portion is in the plane of the stationary portion the black art roof portion can be folded or otherwise compacted such that when the movable portion moves it pulls it forward and straightens out. The roof portion could also be a frame which remains taught and moves forward and backward with the movable portion of the center section.

As used herein “covering the floor” refers to placement of black art material on the floor in the area bounded by the center section and the left and right wing sections. In other words an essentially trapezoidal piece of black art material is placed on the floor in front of (or downstage of) the center and wing sections. The unbounded side of the floor piece should, in one embodiment, be designed to be parallel to the top of the center section and appear to be from a distance the bottom of the backdrop due to the Black Art effect. In other words, this embodiment would make the unbounded side straight and parallel to the audience. The exact dimension then of the floor piece will be dictated by the trapezoid created by the 3 sections when positioned on the floor. When viewed together horizontally from the audience, the 3 sections and floor piece appear to be a single horizontal black backdrop instead of the trapezoidal backdrop it actually is if viewed up close i.e. that is within a few feet.

The exact dimensions of the present invention backdrop is clearly up to the individual user however there are some guiding principles that can be used in picking the dimensions. The wing sections are designed to prevent the audience from seeing behind the movable portion when it is in the forward most position. Accordingly, the longer the wing sections are and the more inward angled they are, the better job they do till they are past the 90 degree point in which case they interfere with the moving portion. One skilled in the art can vary the length and position angle of the sections in response to how far the movable section will actually move in use.

In addition, to prevent an audience member from seeing into the backstage area through any opening created by the moving portion, an optional back curtain of black art material can be used. This is positioned to prevent site lines to back stage and to further hide objects being produced. It is positioned sufficiently behind the opening in the center section to cover the back area from site and also far enough behind the center section to allow the person or object to move into the open area produced by the present invention.

In one embodiment, of the invention theatrical lighting is used. While the effect of the present invention works when one is far enough away from the invention, all black art works best and closest with proper lighting. In one embodiment, stage lighting would include soft blue lighting.

To use the present invention, the object (person, thing or the like) to be produced starts behind the backdrop of the invention. The movable portion is moved for example forward and the object moves up behind it. A cloth or box or the like is held up next to the left or right edge of the movable portion and the object moves behind it. When the cloth is removed the object just seems to appear from nowhere.

Now referring to the drawings, FIG. 1 a is an elevated perspective view of the entire black art backdrop 1 of the invention with the movable portion removed. It consists of left wing 2 and right wing 3, which are angled inwardly at approximately a 135-degree angle from the center section 5. Center section 5 only shows the stationary portion 7. The stationary portion 7 in this embodiment consists of frame cross piece 11 and black art pieces 13 and bounded on the bottom by floor piece 20. In this view, one can clearly see opening 25, which leads to the backstage area behind backdrop 1. Leading edge 21 of floor piece 20 is positioned closest to the audience, parallel to the front of the performing area or the like.

FIG. 1 b is an elevated perspective view of black art backdrop 1 with the movable portion removed and all the black art material from the left wing 2 and right wing 3 removed so that framework 30 supporting the wings and center section can clearly be seen. Other framework designs could be used and the embodiment disclosed represents a free standing framework of pipe and drape design or of tubing that can be fashioned into the proper shape which, because of its trapezoidal shape, is free standing.

FIG. 2 a is an elevated perspective of the black art backdrop 1 of the invention complete with movable portion 40 in place completely covering the opening 25 shown in FIG. 1, however, the roof portion is still omitted. In this view, left wing 2, right wing 3, floor piece 20 and center section 5 with its movable portion 40 and stationary portion 7 are clearly seen merging together and overlapping with only the center section frame piece 11 not covered with black art material. FIG. 2 b is a horizontal perspective view of the complete backdrop 1 of the invention. From a horizontal perspective the entire left wing 2, right wing 3, center section 5 and floor 20 are covered with black art material and since the black art material blends into one another, the present invention appears to be a backdrop with a single continuous piece of black material covering it and more importantly appears to be a single rectangular (and therefore flat) two dimensional backdrop.

FIGS. 3 a, 3 b and 3 c are overhead perspective views of the present invention with the roof portion removed for clarity. FIG. 3 a depicts the black art backdrop 1 of the present invention in the position shown in FIG. 2 b. The movable portion 40 is up against the stationary portion 7 of the center section 5. In this view we have added a dolly 50, that can be used to attach the movable portion 40 and move it to different positions. Also shown in this view is an overhead view of an optional back curtain 55 which can be used to further cover any openings during use of the present invention. In this embodiment it is as tall as the rest of the backdrop and slightly wider than the opening 25 shown in FIG. 1 FIG. 3 b shows a perspective where the movable portion 40 has moved to a most forward position relative to the stationary portions of the black art backdrop 1 of the present invention. The dolly 50 has been pushed and used to keep the movable portion 40 parallel to the stationary portion 7. It is in this position that an object person or the like can move from position A through opening 25 shown in FIG. 2 to position B where the audience can still not see the object or person. A cloth 60 or other object seen from the overhead position is held at position E or F and then the object moves to position C or D respectively. Upon removal of cloth 60 the object appears from nowhere. FIG. 3 c shows an embodiment where the movable portion 40 is moved back to just in front of the back curtain 55. In this embodiment one might wish to optionally add additional floor black art material to cover the floor between the movable wall in the back position and the original trapezoidal piece of floor black art material.

FIG. 4 is again an overhead perspective view of the black art backdrop 1 of the present invention. In this perspective the movable portion 40 is in the same position as seen in FIG. 3 b. In this view however the roof 70 is show in position between the stationary portion 7 and movable portion 40. While dolly 50 is shown it would be hidden underneath the roof 70 in this view in actual use of the invention.

FIGS. 5 a and 5 b show an embodiment of the invention where the movable portion 40 is moved downstage and kept parallel to the stationary portion 7. Dolly 50 is shown with wheels 75. Upon pushing in a downstage direction on dolly 50 the movable portion 40 moves in a downstage direction. In addition, the roof 7 is shown collapsed in FIG. 5 a while extended to its maximum length in FIG. 5 b. When extended to its maximum length roof 70 limits the travel of the movable portion 40 and thus a person pushing the dolly 50 will know precisely when to stop pushing the movable portion 40 forward and the roof 70 will be in its most advantageous position for producing the black art effect as also seen in FIG. 3 b.

The previous examples and drawings are not intended to be limiting. One skilled in the art will be able to select things such as black art material, dollies, framing, materials, size, angles and the like without undue experimentation based on the disclosure herein. Accordingly, the following claims are to be given the widest possible interpretation. 

1. A theatrical backdrop for use on a floor, the backdrop having a downstage side for producing a Black Art effect comprising: a) a forward facing center section covered with black art material on the downstage side, the center section having a stationary potion and a movable portion capable of moving essentially perpendicular to the center section; b) left and right inward angled wing sections covered with black art material on the downstage side; and c) black art material covering the floor positioned between the center section and the left and right inward angled wing sections; wherein the movable portion is covered with black art material separately from the stationary portion and wherein the center section also comprises black art material facing upward and attached between the top of the movable portion and the stationary portion of the center section.
 2. A theatrical backdrop according to claim 1 which further comprises black art material for covering a portion of the floor on the downstage side of the backdrop between the center section and the left and right wing sections.
 3. A theatrical backdrop according to claim 1 wherein the movable portion has a solid back on an upstage side of the movable portion.
 4. A theatrical backdrop according to claim 1 wherein the movable portion is moved forward by a manual means.
 5. A theatrical backdrop according to claim 1 wherein the movable portion is moved forward by a mechanical means.
 6. A theatrical backdrop according to claim 1 wherein the movable portion is moved forward by a motorized means.
 7. A theatrical backdrop according to claim 1 wherein the black art material extends to a portion of floor underneath the movable portion of the center section.
 8. A theatrical backdrop according to claim 1 which further comprises downstage facing lights for enhancing a Black Art effect.
 9. A theatrical backdrop according to claim 1 which further comprises additional black art material positioned behind the center section movable section.
 10. A theatrical backdrop according to claim 1 wherein the movable portion is capable of moving both forward and backwards relative to the center section.
 11. A theatrical backdrop according to claim 1 wherein the black art material is black triple velvet. 